DeBÍ TiRAR MáS FOToS

Bad Bunny

Released on 05/01/2025 by Rimas Entertainment LLC.
Main artists: Bad Bunny
Genre: World
Distinctions: Pitchfork: Best New Music NME: 5 stars

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In his short film collaboration with Jacobo Morales, Bad Bunny envisions a Puerto Rico ravaged by American consumerism. Reminiscing on the island’s old magic, Morales, a substitute for an older Benito, watches a panadería flog 15-dollar vegan quesitos, his village overrun by wolf-eyed new neighbors. This preoccupation with change -- and its consequences -- forms the beating heart of Benito's sixth studio album, Debí Tirar Más Fotos: here are stories of moments lost and places changed, of relationships gone astray, of U.S. predators and their designs upon his homeland.
In response, he wraps himself with twin disciplines: longing and identity. The former mounts early on the six-minute salsa landmark "Baile Inolvidable" -- "you taught me to love, you taught me to dance" -- which mourns a lifetime love in a spacious yet rending instant classic. Yearnings for heart and homeland often cross paths to the extent that they’re indistinguishable: “Turista” paints a surface-level relationship as tourism of his life, “Bokete” maps heartbreak on PR’s titular potholes while eye-rolling the government's inefficiency, and his homeland almost overshadows the object of the love letter, “Weltita.” The title track “DTMF” yanks at the heartstrings with a half-interpolation of “Callaíta" and proves one of the most uniting songs in his catalog, a poignant tribute to lost friends and relatives, the photos that were never taken, words never said.
In the face of his country’s turbulent future, Benito also pumps his work with a fierce sense of identity and resilience. On “La Mudanza,” he’s hoping for his music to be played when freedom-fighter Hostos’ body is returned to the homeland; on “Café con Ron,” he’s uniting with Los Pleneros de la Cresta to summon folks from Farjardo to Rincón. Songs are phoneticized locally -- “Verdad” becomes “Veldá” and “Nueva York” “Nuevayol” -- while the album’s invigorating drumbeat is hammered by students from San Juan’s Libre de Música Ernesti Ramos Antonini. The centerpiece of it all is the devastating “Lo Que Le Pasó a Hawaí,” where Benito warns his homeland of U.S. capitalists’ voracious intentions -- “they want my neighborhood, and for your children to leave/No, don’t let go of the flag nor forget the Le Lo Lai/I don’t want them to do to you, what happened to Hawaii.”
This, however, is an album as much about uplifting as uprising: there are interpolations from Chuíto el de Bayamón and Héctor Lavoe, plena fusions on “Él Club” and “Café con Ron,” güiros folded between thumping basslines and bubbling synths. The album’s all-Boricuas featured artists include showstopping appearances from RaiNao and Chuwi, while PR pioneer Tainy veers its reggaeton from the sweeping, technological “Perfumito Nuevo” to the grimy perreo jam “EoO.” The only thing absent here are the more emotional synth lines of his classics; it’s hard to see the icier “Veldá” and “Ketu Tecré” bottling entire years like a “Dákiti” or “Moscow Mule.”
Debí Tirar Más Fotos is a Puerto Rican triumph, as verdant as its foliage and as vital as its cause. Hollering “Yo soy de P fucking R” from the rooftops, Bad Bunny roots himself in his homeland, yet again proving himself one of his generation’s most potent voices.

© David Crone /TiVo

DeBÍ TiRAR MáS FOToS

Bad Bunny

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